A Collection of Indian Miniatures

Indian Miniatures Presented by Kapoor Galleries

www.kapoors.com info@kapoors.com +1 (212) 888-2257

01

A Nayika Preparing to Meet her Beloved Kangra, India, mid-19th century Opaque watercolor heightened with gold on paper Image: 7 2/3 x 5 in. (19.5 x 12.7 cm.)

Folio: 10 ½ x 7 in. (26.7 x 17.8 cm.)

Provenance: Christie’s New York, 6 July 1978, lot 64.

The collection of Dr. Alec Simpson.

A Nayika Preparing to Meet her Beloved Kangra, India, mid-19th century Opaque watercolor heightened with gold on paper Image: 7 2/3 x 5 in. (19.5 x 12.7 cm.)

Folio: 10 ½ x 7 in. (26.7 x 17.8 cm.)

Provenance: Christie’s New York, 6 July 1978, lot 64.

The collection of Dr. Alec Simpson.

A nayika kneels on a gold and jeweled plinth, naked except for a transparent wrap and gold jewelry. Her lithe body turns as she wrings out her long black hair on the white marble terrace of the zenana. The woman is accompanied by four attentive handmaidens holding vessels that contain body oils, perfumes, ointments and lac for the palms of her hands and soles of her feet. As she prepares to greet her lover, the air is tense with anticipation. The blue, cloudy sky is streaked with red, rendering an evening sunset. In the middle distance rises a gray lotus-filled pond, the blossoms and leaves large and freshly blooming. In the far distance, a village set among steep hillsides is visible. Amidst its population of cowherds and small structures, two tiny mounted nobles gallop in from the left and right.

Compare these landscape features to a work signed by the artist Har Jaimal in W.G. Archer’s Visions of Courtly India, 1976, no. 73 and 74.

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Princess Strolling Across a Palace Terrace at Night Lucknow, Awadh, India, circa 18th century Gouache painting on paper heightened with gold leaf Image: 7 1/8 x 4 7/8 in. (18.1 x 12.4 cm.)

Folio: 17 x 12 in. (43.2 x 30.5 cm.)

Provenance: Doris Wiener Gallery, New York, September 30, 1969 (documentation available upon request).

02

Princess Strolling Across a Palace Terrace at Night Lucknow, Awadh, India, circa 18th century Gouache painting on paper heightened with gold leaf Image: 7 1/8 x 4 7/8 in. (18.1 x 12.4 cm.)

Folio: 17 x 12 in. (43.2 x 30.5 cm.)

Provenance: Doris Wiener Gallery, New York, September 30, 1969 (documentation available upon request).

This exquisite miniature painting from 18th-century

and toes with various jewels embellished throughout,

Lucknow

poetic

emphasizing her regal presence. Looking more closely,

sensibility of late-Mughal and Awadhi courtly aesthetics.

alta (red dye) decorates the tips of her fingers, toes, and

The composition depicts a princess walking barefoot

the soles of her feet, denoting her status as a married

across a palace terrace late at night in an intimate

woman. She also holds up a small diya (candle) to her

moment, engaged in an act of quiet contemplation

face. Her ethereal presence in this scene is further

with a subtle sense of resolve. The artist employs a

accentuated by her serene expression and the soft

darkened background to evoke the enveloping night

upward curve of her lips.

embodies

the

refinement

and

sky, enhancing the luminosity of the central figure whose delicate features, dress, and jewelry gleam in

A series of finely painted jharokhas (arched windows)

contrast. Awadhi miniatures often incorporate a diverse

frame the princess in the evening scene, and floral

range of painting techniques, with specific interest in

motifs decorate the structure on the right. A crimson

the interplay of light and shadow, as well as a more

red balustrade in the background anchors the

precise rendering of volume and spatial depth.

composition spatially and adds a rhythmic contrast to the princess’s gentle stride. The restrained yet

The princess is dressed in an elegantly pleated and

vibrant color palette, with the interplay of warm

embroidered golden skirt with a deep orange blouse.

ochres, muted blues, verdant greens, and bold reds,

She gently draws her sheer dupatta (shawl) forward with

reflects the refined sensibilities of the period. Such

one hand to partially veil her face, and perhaps wishing

nocturnal vignettes, often laden with poetic and

to remain hidden in the night. The fabric of her dress is

literary associations, were favored subjects in courtly

rendered with an exquisite attention to textile detailing,

ateliers, illustrating themes of solitude, anticipation,

showcasing the artist’s ability to convey the rich and

and the fleeting nature of beauty.

graceful qualities of the princess. Soft shading across her form brings a sense of volume and dimensionality

The miniature painting is encased by a large vibrant

to the central figure. She is also adorned with a string

yellow and red floral border, its repeating pattern

of pearls draped around her neck, wrists, forehead,

heightened with gold leaf.

03

An Illustration from a Markendeya Purana Series: The Devimahatmya Mughal, circa 1700 Ink, opaque watercolor, heightened with gold on prepared paper 12 ⅜ x 8 ⅜ in. (31.4 x 21.2 cm.)

Provenance: Allen and Matilda Alperton, San Francisco, CA, by repute.

Acquired from Eugene Bernald, circa 1976, by repute.

03

An Illustration from a Markendeya Purana Series: The Devimahatmya Mughal, circa 1700 Ink, opaque watercolor, heightened with gold on prepared paper 12 ⅜ x 8 ⅜ in. (31.4 x 21.2 cm.)

Provenance: Allen and Matilda Alperton, San Francisco, CA, by repute.

Acquired from Eugene Bernald, circa 1976, by repute.

The Devi Mahatmya, a revered section of text within

seated atop an elephant, looms over the fray. At the

the Markandeya Purana, is one of the most significant

rear, another figure beats a pair of kettle drums,

scriptures in the Shakta tradition, celebrating the

rallying the army into action.

Goddess Shakti as a supreme cosmic force. Comprising 700 verses across 13 chapters, it narrates the divine

In the foreground, the Goddess’s vahana, the lion,

battles in which the Goddess, in her many manifestations,

pounces upon a demon, who may have emerged

vanquishes powerful demons who threaten the balance

from behind the severed body lying below—a visual

of the universe. The text is structured around three

motif frequently referenced in the text. While the Devi

major episodes: her defeat of the demons Madhu

Mahatmya often describes the Goddess manifesting

and Kaitabha, her triumph over the buffalo demon

in multiple forms to combat demonic forces, this

Mahishasura, and her ultimate victory against the

artist has chosen to emphasize her singular presence,

brothers Shumbha and Nishumbha. These stories

heightening the sense of her divine power. She

symbolize the triumph of good over evil and establish

stands resolute facing nearly two dozen adversaries,

the Goddess as the embodiment of power, wisdom, and

symbolizing the triumph of cosmic order over chaos.

divine justice.

The present artwork captures a moment from one of these epic battles, though without inscriptions or identifying markers on the piece, it is difficult to pinpoint the exact episode depicted. The eight-armed Goddess stands at the center, facing a formidable horde of demons advancing from the left. Some of the asuras retain human-like features but are adorned with horns and antlers, while others appear in more grotesque, animalistic forms. Among them, a few charge into battle on horseback, while one demon,

04

A Courtesan Dancer Deccan, Golconda or Hyderabad, last quarter of the 17th century Ink with embellishments in gold on paper Image: 7 3/4 x 2 5/8 in. (19.7 x 6.7 cm.)

Folio: 13 7/8 x 10 in. (35.2 x 25.4 cm.)

Provenance: Saeed Motamed Collection.

Christie’s London, 7 October 2013, lot 118.

04

A Courtesan Dancer Deccan, Golconda or Hyderabad, last quarter of the 17th century Ink with embellishments in gold on paper Image: 7 3/4 x 2 5/8 in. (19.7 x 6.7 cm.)

Folio: 13 7/8 x 10 in. (35.2 x 25.4 cm.)

Provenance: Saeed Motamed Collection.

Christie’s London, 7 October 2013, lot 118.

The young dancer’s long wavy black hair falls in slender

painting of a similar style and subject, reference A

tresses down her back and over her shoulder. She is

Dancing Courtesan – Folio from the Colebrook Album,

dressed in a Safavid Persianate manner and faces the

North India, possibly Delhi region, from the early 19th

viewer in three-quarter pose. She places her weight on

century, executed in opaque pigments heightened with

one leg and twists rhythmically, her left hand raised up

gold on paper and laid down on an album page (folio:

above her head and her right playfully pinching out a

33.1 × 24.4 cm; painting: 21.5 × 14.4 cm).

strand of hair. A feathered and gold cap with strands of pearls, gold bracelets and necklaces adorn her figure from head to foot.

Her near-frontal pose suggests that she is a courtesan—a princess, meanwhile, would typically be depicted in profile. Although the identity of this courtesan is unknown, she is depicted with realistic features, capturing a true representation of the sitter in a Mughal style. By this time, the Mughals conquered the Deccani Sultinate finalizing their triumph over the region. This portrait was executed when Mughal aesthetics dominated the Deccan, evident here in the realism and empty background with a carefully patterned outer border.

The present portrait is similar to a published painting of a Yogini with a Mynah Bird (Chester Beatty Museum, Dublin, Ireland, accession no. In 11A.31), depicted half length with a bold smile and full face. Both women project a similarly insouciant attitude. And for another

05

The Goddess Kali Attributed to Sajnu Mandi, North India, circa 1810 Opaque watercolors heightened with gold on paper 12 1/2 x 9 1/2 in. (31.8 x 24.2 cm.)

Provenance: Private Swiss Collection.

Christie’s, London, 10 June 2015, Lot 70.

05

The Goddess Kali Attributed to Sajnu Mandi, North India, circa 1810 Opaque watercolors heightened with gold on paper 12 1/2 x 9 1/2 in. (31.8 x 24.2 cm.)

Provenance: Private Swiss Collection.

Christie’s, London, 10 June 2015, Lot 70.

The goddess depicted in a classical stance after her

The distinctive elaborate margins of this work with

killing spree, the third eye surmounts her tongue

cusped cartouches containing attendants of Kali and

struck out in between protruding fangs, clad in a belt of

associated animals are similar to those found on a

decapitated hands and a necklace of severed heads as

painting of Raja Isvari Sen of Mandi worshiping Shiva

jagged hair runs down her shoulders. The manifestation

attributed to artist Sajnu (W.G. Archer, Indian Paintings

of destruction and barrenness is seen brandishing a

from the Punjab Hills, London, 1973, fig. 46, p. 275).

curved sword (kharga), holding a decapitated head, with a foot over Shiva’s body. Jackals and vultures surround

About Sajnu: “Painting at Mandi, a relatively large

the scene smelling death in the blood- saturated air. The

kingdom in the Punjab Hills, did not really get underway

illustration is centered in an octagonal medallion, the

until the middle of the eighteenth century. It reached

spandrels embellished with gold scrolling foliate tendrils,

an apogee of creativity during the reign of Raja Isvari

in black borders with scrollwork, wide pink margins

Sen, who was under the cultural sway of painting mad

containing further depictions of her emanations, cusped

Kangra and Guler, the two kingdoms which supplied a

cartouches above and below with a vulture and a rat.

number of Isvari Sen’s favorite artists. His leading court painter was Sajnu, originally from Kangra or Guler.

Mahakali, or “The Great Kali,” embodies the dual aspects

Sajnu, like Nainsukh and the Basohli Master of the

of time and destruction, as well as the creative power

Early Rasamanjari before him, did much to transform

(Shakti) fundamental to the cosmos. She is juxtaposed

the style of painting everywhere in the Punjab Hills.

with Shiva, who symbolizes pure consciousness. This

Early nineteenth century Pahari painting was greatly

artwork is emblematic of monistic Shaktism and

influenced.” (McInerney, Terence; Kossak, Steven; and

resonates with the Nondual Trika philosophy of Kashmir

Haidar, Navina. Divine Pleasures: Painting from India’s

Shaivism. The depiction of Kali standing upon Shiva

Rajput Courts. New York: The Metropolitan Museum of

signifies the activation of the universe through Shakti,

Art, 2016 pg. 238. Print.)

without which consciousness remains inert, akin to a corpse (Shava). This interplay highlights the necessity of balance between the forces of creation and destruction.

06

Kali Dances on Two Lovers Kangra, Himachal Pradesh, India, circa 1840 Ink, opaque watercolor, and gold on paper Image: 8 1/2 x 5 3/4 in. (21.5 x 14.6 cm.)

Folio: 11 x 8 1/8 in. (28 x 20.6 cm.)

Provenance: Private European collection, by repute.

06

Kali Dances on Two Lovers Kangra, Himachal Pradesh, India, circa 1840 Ink, opaque watercolor, and gold on paper Image: 8 1/2 x 5 3/4 in. (21.5 x 14.6 cm.)

Folio: 11 x 8 1/8 in. (28 x 20.6 cm.)

Provenance: Private European collection, by repute.

The goddess depicted in a classical stance after her

The distinctive elaborate margins of this work with

killing spree, the third eye surmounts her tongue

cusped cartouches containing attendants of Kali and

struck out in between protruding fangs, clad in a belt of

associated animals are similar to those found on a

decapitated hands and a necklace of severed heads as

painting of Raja Isvari Sen of Mandi worshiping Shiva

jagged hair runs down her shoulders. The manifestation

attributed to artist Sajnu (W.G. Archer, Indian Paintings

of destruction and barrenness is seen brandishing a

from the Punjab Hills, London, 1973, fig. 46, p. 275).

curved sword (kharga), holding a decapitated head, with a foot over Shiva’s body. Jackals and vultures surround

About Sajnu: “Painting at Mandi, a relatively large

the scene smelling death in the blood- saturated air. The

kingdom in the Punjab Hills, did not really get underway

illustration is centered in an octagonal medallion, the

until the middle of the eighteenth century. It reached

spandrels embellished with gold scrolling foliate tendrils,

an apogee of creativity during the reign of Raja Isvari

in black borders with scrollwork, wide pink margins

Sen, who was under the cultural sway of painting mad

containing further depictions of her emanations, cusped

Kangra and Guler, the two kingdoms which supplied a

cartouches above and below with a vulture and a rat.

number of Isvari Sen’s favorite artists. His leading court painter was Sajnu, originally from Kangra or Guler.

Mahakali, or “The Great Kali,” embodies the dual aspects

Sajnu, like Nainsukh and the Basohli Master of the

of time and destruction, as well as the creative power

Early Rasamanjari before him, did much to transform

(Shakti) fundamental to the cosmos. She is juxtaposed

the style of painting everywhere in the Punjab Hills.

with Shiva, who symbolizes pure consciousness. This

Early nineteenth century Pahari painting was greatly

artwork is emblematic of monistic Shaktism and

influenced.” (McInerney, Terence; Kossak, Steven; and

resonates with the Nondual Trika philosophy of Kashmir

Haidar, Navina. Divine Pleasures: Painting from India’s

Shaivism. The depiction of Kali standing upon Shiva

Rajput Courts. New York: The Metropolitan Museum of

signifies the activation of the universe through Shakti,

Art, 2016 pg. 238. Print.)

without which consciousness remains inert, akin to a corpse (Shava). This interplay highlights the necessity of balance between the forces of creation and destruction.

07

Baz Bahadur and Rupmati Riding at Night Mughal, probably Awadh, circa 1800 Opaque watercolor heightened with gold on paper Image: 7 3/4 x 10 1/8 in. (19.7 x 25.7 cm.)

Folio: 8 3/8 x 10 7/8 in. (21.2 x 27.6 cm.)

Published: Daniel J. Ehnbom, Indian Miniatures: The Ehrenfeld Collection, New York, 1985, no. 30, pp. 76-77.

Provenance: The Ehrenfeld Collection, California.

Sotheby’s New York, 6 October 1990, lot 19.

Carlton Rochell Asian Art, New York.

The Sterling Collection, U.S., 2011.

07

Baz Bahadur and Rupmati Riding at Night Mughal, probably Awadh, circa 1800 Opaque watercolor heightened with gold on paper Image: 7 3/4 x 10 1/8 in. (19.7 x 25.7 cm.)

Folio: 8 3/8 x 10 7/8 in. (21.2 x 27.6 cm.)

Published: Daniel J. Ehnbom, Indian Miniatures: The Ehrenfeld Collection, New York, 1985, no. 30, pp. 76-77.

Provenance: The Ehrenfeld Collection, California.

Sotheby’s New York, 6 October 1990, lot 19.

Carlton Rochell Asian Art, New York.

The Sterling Collection, U.S., 2011.

Baz Bahadur of Mandu, the last King of the Malwa

conventions associated with their story: Baz Bahadur

Sultanate (r. 1555-1562), is depicted here riding with

bears a long spear, two quivers of arrows, a bow, and a

his beloved Rupmati on a pair of horses. They gallop in

sword. Their eyes meet as their caparisoned horses lift

sync through the darkened night landscape, rearing up

them in a united stride.

in perfect unison as the lovers gaze into each other’s eyes. They seem to glow with an otherworldly radiance, their energy illuminating the green bush behind them like a spotlit stage. A lotus-filled pond with a pair of birds bathing is depicted below.

Although the Muslim Baz Bahadur and the Hindu Rupmati were historical figures who lived and loved during the reign of the Mughal Emperor Akbar, their inspiring story has transcended into folklore and poetry.

Baz Bahadur was initially led to Rupmati by music he heard on a hunt. After years of palatial and romantic bliss, the two were divided by the 1661 Mughal conquest of Mandu, whereupon Rupmati chose death over being taken captive. Thus, they are the archetypal tragic lovers—an Indian version of Romeo and Juliet—and are represented here in this stunning miniature as idealized types, raised to heroic perfection.

While it is apparent that these are not actual portraits, we can nevertheless immediately recognize them as Baz and Rupmati with the help of longstanding visual

08

Lakshmi-Narayana Enthroned Kangra, dated Samvat 1845 (1788 C.E.) Opaque watercolor heightened with gold on paper 8 ¼ x 8 ⅛ in. (21 x 20.7 cm.)

Provenance: Hearst & Hearst, Boston, early 1980s.

Private Boston collection.

08

Lakshmi-Narayana Enthroned Kangra, dated Samvat 1845 (1788 C.E.) Opaque watercolor heightened with gold on paper 8 ¼ x 8 ⅛ in. (21 x 20.7 cm.)

Provenance: Hearst & Hearst, Boston, early 1980s.

Private Boston collection.

Vishnu the Preserver appears here in his Chaturbhuja

The painting’s verso is dated Samvat 1845 (1788 C.E.)

(four-armed) form, enthroned beside his consort

and inscribed with a devanagari couplet that translates

Lakshmi. The god’s identity is revealed by his blue-toned

to:

skin and vibrant yellow dhoti as well as the objects he carries in each of his four hands: a discus (chakra),

“May Lord, [I pray], please listen to the songs (bhajana)

mace (gada), conch (shankha), and lotus. Both deities

about the suffering of the world (bhava-peer)

are illustrated in an opulent manner–garbed in vibrant

Save me! Save me! O Raghu Veer, the one who takes away

colors and lavish pearl, emerald, and gold accessories–

all sorrows and gives happiness to all.”

which follows the typical convention for depicting Vishnu as a king and Lakshmi as the goddess of wealth and prosperity.

Perhaps most notable, however, is the placement of the divine couple within a yantra—a rare practice in Indian miniature painting. Yantras are tantric diagrams used in homes and temples to aid in meditation and can be of several types. The present painting displays a pujayantra, which is invoked in the worship of specific deities. Vishnu and Lakshmi are encircled within a border surrounded by eight lotus petals pointing in the cardinal and intermediate directions. Yantras often include lotus petals—a symbol of purity, transcendence, and fertility—in various numbers, but with eight being one of the most common. The lotus is then enclosed in a square with four gates–sacred doorways also pointing in the four cardinal directions—a standard convention in the representation of yantras.

09

Shiva Under the Influence of Bhang Kangra, India, 1810-1820 Opaque watercolor heightened with gold on paper 11 ¾ ​x 7 in. (29.5 x 18 cm.)

Provenance: Private German collection.

Private UK collection.

09

Shiva Under the Influence of Bhang Kangra, India, 1810-1820 Opaque watercolor heightened with gold on paper 11 ¾ ​x 7 in. (29.5 x 18 cm.)

Provenance: Private German collection.

Private UK collection.

The present painting depicts Lord Shiva and his wife

Pashupatastra weapon from Shiva. In particular, the

Parvati, as well as their two sons, Karttikeya (Skanda)

rendering of the banyan tree, with the pinkish hue of

and the elephant-headed Ganesha. Their respective

the new growths, is remarkably similar.

vahanas (vehicles) are shown here as well–Parvati’s tiger, Karttikeya’s peacock, Ganesha’s rat, and Shiva’s sacred bull, Nandi. Shiva reclines against a banyan tree in a drunken stupor as the young Ganesha clutches at his arm. He is shown here in the nude except for two vine-like snakes that serve as his undergarments and necklace, mirroring the god’s characteristic matted locks and the aerial roots of the banyan tree above. In his right hand he holds a cup of Bhang, a traditional Indian beverage infused with cannabis–often associated with Shiva and his devotees–which is said to help Shiva focus inward, allowing him to harness his divine powers.

Scenes of the Holy Family are a popular theme in the Pahari school of painting and often show the family in domestic bliss. See another depiction of the Holy Family, attributed to Purkhu, currently at the Victoria & Albert Museum (acc. 4648C/(IS)). This painting also features Shiva, cup of Bhang in hand, with his family in their home atop Mount Kailash, surrounded by the distinctive jagged peaks of the Himalayas. See also a comparable image at the Los Angeles Museum of Art (acc. M.2009.148.2), which depicts Ravana receiving the

10

Illustration to Kirata-Arjuniya Episode, from a Mahabharata Series Attributed to Purkhu Kangra, India, circa 1820 Opaque watercolor on paper, heightened with gold Image: 13 ¾ x 18 ½ in. (34.93 x 47 cm.)

Folio: 15 ½ x 19 ⅞ in. (39.4 x 50.5 cm.)

Provenance: Acquired from the Doris Weiner Gallery by repute.

Private Virginia collection, thence by descent.

10

Illustration to Kirata-Arjuniya Episode, from a Mahabharata Series Attributed to Purkhu Kangra, India, circa 1820 Opaque watercolor on paper, heightened with gold Image: 13 ¾ x 18 ½ in. (34.93 x 47 cm.)

Folio: 15 ½ x 19 ⅞ in. (39.4 x 50.5 cm.)

Provenance: Acquired from the Doris Weiner Gallery by repute.

Private Virginia collection, thence by descent.

A Sanskrit epic, written by Bhairavi in the 6th century, the

as the Kirata hunter underscores the exquisite artistry

Kirata-Arjuniya episode revolves around the encounter

inherent in Kangra miniatures.

of Pandava Prince Arjun with Lord Shiva (in disguise of a Kirata, a mountain dwelling hunter).

Refer to a similar painting (M.70.38.1) from the Los Angeles County Museum of Art which comprises the

During the Pandavas’ exile, Arjuna encountered a demon in the form of a boar. After Arjuna killed the boar in selfdefense, a dispute arose with Shiva, disguised as a hunter, claiming he had shot first. Despite Arjuna’s use of divine weapons, he couldn’t defeat the hunter. Recognizing the hunter as Shiva, Arjuna sought forgiveness. Shiva revealed his identity, and blessed Arjuna with powerful weapons, including the Pashupatastra, strengthening him for the Kurukshetra War. This artwork beautifully encapsulates the quintessence of the Kangra style by incorporating a distinctive bold border adorned with foliate motifs that gracefully traverse the composition. The airbrushed portrayal of trees and the opulent landscape, coupled with the application of linear perspective for depth, depicts the typical Kangra paintings of its era. Notably, the majority of figures are depicted inside or quarter profile. The meticulous detailing of weaponry, jewels, and clothing in the depictions of Arjuna as a warrior prince and Shiva

same subject matter.

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For any inquiries about the works presented in this catalog, please reach out to Kapoor Galleries via email 10

(info@kapoors.com) or phone (+1 (212) 888-2257). Thank you!

Indian Miniatures Presented by Kapoor Galleries

www.kapoors.com info@kapoors.com +1 (212) 888-2257